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Introduction

Although the National Palace Museum is renowned throughout the world for its unparalleled collection of Chinese artifacts in terms of both quantity and quality, the realm of art should extend beyond the confines of time and space as well as other boundaries. For this reason, the Museum continues to make every effort to expand its collection and provide audiences with an even more complete cultural perspective. Expansion of the Museum collection, in addition to utilizing a budget allocated for purchasing objects, also includes a mechanism for accepting donations. Works that meet the acquisition needs of the Museum are gladly welcomed, encouraging all to participate in serving the public interest and to share the glory of our cultural heritage.

Since the National Palace Museum was built in Taipei in 1965, many generous individuals and organizations have donated or bequeathed artworks to its collection. However, restrictions concerning the display of painting and calligraphy as well as the limited exhibit space at the Museum make it impossible to present them all on a permanent basis. Although representing a small portion of the numerous donations, a special selection of these treasures is being presented in this display gallery. By allowing in-depth study of these works of painting and calligraphy via the promotion of museum education, visitors can truly understand and appreciate their cultural heritage. Realizing that a great collection is not built in a day, the National Palace Museum also hereby expresses its gratitude to the selfless collectors who have contributed works. It is hoped that individuals and groups from all walks of life will continue to participate in this grand undertaking to make the National Palace Museum truly an institution of and for the people.

Selections

Landscape

Wang Shouren (1472-1528), Ming dynasty
Hanging scroll, ink on paper
83 x 24 cm

Wang Shouren (style name Bo'an), known to others as "Master Yangming," was a native of Yuyao in Zhejiang. A great Confucian scholar of the Ming dynasty, his theory regarding "Unity of Knowledge and Action" came to have a great impact on later generations.

This hanging scroll, donated to the National Palace Museum by Mr. Chang Hsueh-liang, employs the compositional formula of "one river, two banks" commonly associated with the painter Ni Zan of the Yuan dynasty. The brushwork is sparse and the texturing limited, the artist's aim not to represent the outer world but instead to communicate his untrammeled feelings at heart. Done in the first lunar month of 1506, the artist's inscription includes the sentences for "The Way to Knowledge is to be found everywhere, but one must first study (in order to know this)." In the second month of that year, Wang ran afoul of the powerful and corrupt eunuch Liu Jin and was banished to a minor post in Longchang, Guizhou. Confined day and night in this remote part of the country, he finally was able to realize philosophical enlightenment, known in history as the "Sudden Enlightenment at Longchang." Wang's surviving landscape paintings are extremely rare, and this work dates prior to his enlightenment, making it even more precious.

"Yiyun" Modelbook in Running Script

Zhu Da (1626-1705), Qing dynasty
Hanging scroll, ink on paper
102.2 x 37.4 cm

Zhu Da, sobriquet Bada shanren, was a native of Nanchang in Jiangxi. A member of the Ming dynasty imperial family, he became a monk after the fall of the Ming in 1644. Many of his works have an unexpected manner, and he was known as one of the "Four Monks of the Early Qing."

This work, donated to the National Palace Museum by Mr. Chang Chun, was done on the winter solstice of the year 1702. The calligraphy style of Zhu Da in his later years tended towards unadorned simplicity, the brushwork solid and hoary with few places where the brush was lifted or pressed. Often with an element of seal script, perhaps he came under the influence of the Bronze and Stone School of calligraphy that was popular at the time. This work is a transcription of "Yiyun" found in the "Modelbooks of the Chunhua Pavilion" engravings, but it deliberately omits some of the contents from the original. Although called a "copy," the strokes and characters reflect more of the artist's own idea. In 1702, Zhu Da frequently transcribed this text, surviving examples being found in different forms, such as a folding fan and album leaf.

In Imitation of Li Cheng's "Flock of Crows and Wintry Trees"

Wang Yun (1652-after 1735), Qing dynasty
Hanging scroll, ink and colors on silk
141.3 x 69.1 cm

Wang Yun (style name Hanzao), a native of Gaoyou in Jiangsu, depicted figures and buildings in a style similar to that of the Ming master Qiu Ying. He served the Qing imperial court as a painter during the Kangxi reign and took part in the production of "Kangxi's Southern Inspection Tours." Famous throughout the Jiangnan region, he was a renowned painter of Yangzhou.

This painting, donated to the National Palace Museum by Ms. Lo Sun Ping-tsung, depicts wintry trees by a flowing stream with a flock of crows in the sunset skies above. The texture-stroke method for the foreground landscape is fine and skittering, the background mountain cliff rendered with large areas of wash. The theme of "wintry trees" is often associated with the style of the Northern Song painter Li Cheng, hence the reference to him in the title. In addition, the composition here differs considerably from the style of the Orthodox School practiced by the Four Wangs. The crows appear in a vortex arrangement against the rosy hue of the sky, creating for a dramatic visual effect.

Riding an Ox

Wang Zhen (1867-1938), Republican period
Hanging scroll, ink and light colors on paper
135.7 x 68.1 cm

Wang Zhen (style name Yiting, sobriquet Baiyang shanren) was a famous businessman, painter and calligrapher, and philanthropist in Shanghai during the early twentieth century, often selling his paintings to raise funds for disaster relief. He first began studying painting under Ren Yi and when Wu Changshi arrived in Shanghai, Wang took him as a teacher and a friend, Wang's painting style gradually becoming bolder and more straightforward thereafter.

The inscription on this painting states that it was presented to "Mr. Jingzhi," referring to the person who donated this work to the National Palace Museum, Mr. Ho Ying-chin. The painting, done late in the spring of 1928, depicts a scene of herding an ox. Different kinds of brushwork appear in various parts of the painting, the brush strokes brisk and the ink tones rhythmic. In the third lunar month of 1928, Wang Zhen represented the China International Relief Commission in going to Nanjing to receive relief funds and Ho Ying-chin was the commander stationed there at the time, giving Wang an opportunity to present this painting to him.

Lofty Scholar Below a Pine Tree

Fu Baoshi (1904-1965), Wu Ying (1891-1959), Zhang Zongxiang (1882-1965); Republican period
Hanging scroll, ink and light colors on paper
106.2 x 39 cm

This painting, done in the winter of 1947, features a pine tree by Wu Ying, the figure and slope with distant mountains added by Fu Baoshi, and the grasses and inscription by Zhang Zongxiang.

Fu Baoshi, a native of Xinyu in Jiangxi, was able to forge new directions in landscape and figure painting, becoming a renowned master of modern times. Wu Ying (style name Jingzhou), a native of Wujin in Jiangsu, participated in the founding of the Palace Museum and was a capable painter and calligrapher as well. Zhang Zongxiang (late sobriquet Lengseng), a native of Haining in Zhejiang, was a famous scholar and calligrapher. The painting was done when these three friends were reunited and residing in Nanjing after World War II. In the following year, 1948, Wu Ying moved his family to Shanghai. This painting, donated to the National Palace Museum by Mr. Fu Shen, is a rare testimony to the meeting of these three figures.

Water Reaches to the Skies and Wild Geese Return

Ma Shou-hua (1893-1977), Republican period
Hanging scroll, ink and light colors on paper
115.9 x 59.9 cm

Ma Shou-hua (style name Muxuan, self-styled name Xiaojing zhaizhu) was a native of Woyang in Anhui. Formerly President of the Administrative Court, in spare time from official duties he, Cheng Man-ching, and others formed the Seven Friends Painting Society. Ma was gifted at painting and calligraphy.

This hanging scroll, donated to the National Palace Museum by Mr. Ma Han-pao, is a finger painting done in the spring of 1971. It depicts the poetic idea of "Inscription on a Painting by Li Gonglin" by the Northern Song scholar Cai Zhao. Ma became interested in finger painting at the age of fourteen, considering it a lost form of art. He also pursued a pure and untrammeled beauty. The outlines of the rocks and trees in this painting are fine and sharp, apparently rendered using the fingernail. To complete the work, the artist employed his finger and fingertip to texture the dotted leaves. Unconfined by any single method, the manner overall is serene and elegant without a single trace of coarseness.

Exhibit List

Title
Artist
Period
Note

Landscape

Wang Shouren

Ming dynasty

Donated by Chang Hsueh-liang

Buddhist Figures

Gou Longshuang

Attr.Song dynasty

Donated by Huang Chun-pi

Aesthetic Offering

Guo Zongyi

Qing dynasty

Donated by Lin Cheng-tao

In Imitation of Li Cheng's "Flock of Crows and Wintry Trees"

Wang Yun

Qing dynasty

Donated by Lo Sun Ping-tsung

"Yiyun" Modelbook in Running Script

Zhu Da

Qing dynasty

Donated by Chang Chun

Lofty Scholar Below a Pine Tree

Fu Baoshi, Wu Ying, Zhang Zongxiang

Republican period

Donated by Fu Shen

Water Reaches to the Skies and Wild Geese Return

Ma Shou-hua

Republican period

Donated by Ma Han-pao

Riding an Ox

Wang Zhen

Republican period

Donated by Ho Ying-chin